The tragedy of a petty-bourgeois man notwithstanding the wry humor on his subordination, contempt for procedures, embrace of irrationalisms of sorts turns in the second part of the film into an unexpected and painful quest for redemption and deliverance. Monicelli's transition from social satire to tragedy is thus ingenious and his use of metonymies apt from the very first shot. Sordi's fastidious father captivates!
Ho rivisto questo capolavoro a distanza di tanti anni e l'ho trovato devastante. Non è un film su quanto sia piccolo piccolo un borghese ipocrita e mezzo fascio per il quale l'unica preoccupazione è imbucare il figlio al ministero, ma un film su quanto siamo piccoli piccoli tutti quanti.
Monicelli seems to be a master tragedy maker. The film is divided to two parts. First part tries to explore the middle class life, it's absurdity and emptiness, trying to show their doomed and meaningless struggle. The second part is not only criminal but also exstential, the prowling of the main character as the society symbol to make peace with himself and in general the whole world, remindes me of chabrol's works.